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| I praised this animation in my last entry, then forgot to actually include it. |
In the last session, we learned that some malevolent force is freeing genies from their vows. My own family's genie, without authorization, destroyed the ship belonging to a rival family and kidnapped my betrothed, Princess Kara. When questioned, the genie intimated that my family ordered the attack, so the caliph had my mother, father, and sister (the only family members who can summon the genie) imprisoned in the capital city of Bandar al-Sa'adat. I don't know whether the caliph is part of the conspiracy, but he said some weird things, and something is clearly going on with him.
The sorcerer Farid al-Mutan suggested I seek out the Genie Lords to get to the bottom of this mystery, but to find them, I'll need to learn the name of the island they live on. I can supposedly get that information from a hermit in the library on Shibaz. Before going there, I decided to go to Bandar al-Sa'adat to spend some money at the bazaar and see if I could find a trainer. I've leveled up twice and apparently earned the right to learn "new combat moves," but I haven't had anyone to train me.
I rowed back to my ship without incident, healed myself at the orb, and ordered the captain to take us to the capital city. On the way, we were attacked by mini water elementals, but they didn't take much effort. Once on land, I accidentally hit "load" instead of "save" (the menu is very hard for me to interpret), and I had to do it all over again.
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| This is how you have to determine which command is selected. I'm sure that "Save Game" looks like a completely different color to you, but to me it just looks slightly darker. |
Bandar al-Sa'adat covers its island, so there wasn't anything to find in the "wilderness." The guards challenged me as I entered the city, demanding to know my business. My protestations of nobility got me nowhere. The guards said I couldn't enter any restricted areas or private homes. This is probably the game's way of hand-waving why what is supposed to be a teeming capital is so small. The only area I could explore was a thin north-south street leading to the caliph's palace. There were buildings on both sides.
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| Ha. I'll bet it's not even programmed. |
Encounters in the city:
- A "trade office and money changer." I could trade gems for gold or gold for gems, but I did neither for now.
- I earned 200 experience points for giving 10 gold pieces to a beggar in an alley.
- A building "for rent" had a note inside that the previous owner, a scribe, had been arrested for possessing forged seals. "Let this be a lesson to all who plot against the caliph." It was signed by Vizier Zummerand. I told you a couple of entries ago that this game felt a bit like Quest for Glory II: Trial by Fire (1990); here we have a similar plot of a city ruler turning tyrannical.
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| At least this city's fountain isn't dried up. |
- A supernatural emporium sold potions of healing (100), extra healing (200), invulnerability (800), and giant strength (500); oils of elemental invulnerability for each elemental type (150-300), Moonstone Shards with different spells ranging from "Water Blast" (400) to "Lightning" (2,200). He also sold me a Gilded Dove for 200 gold. I had the option to say, "No, that is robbery," but it didn't get me anywhere. Apparently, the detailed haggling mechanic in the tabletop game wasn't implemented in the computer version. Anyway, this shop seems to serve as a useful money sink.
- The Travelers' Rest Inn had a sign saying it was closed. A couple of people were hanging out inside, but they didn't have anything important to say to me.
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| This was a common sentiment. |
- Ingrid's Shop of Wonders seemed promising, but all she would sell me was a slice of honeybread. I wonder if that's like a sweetcake.
- A street merchant was selling cakes, but the game wouldn't let me buy any. Ditto a rug merchant and a guy selling pots.
- Several private residences.
- On the west side of town, I found not only a trainer, but the same trainer as the one I met in Zaratan, Zubakon. He explained that things are falling apart in Zaratan. I told him I was ready to learn a new combat move. We sparred for a while, but all that happened was I got a second "action circle," which apparently causes my sword swings to damage enemies to the left and right as well as in front of me. If I can get one more (there are only three slots), my swings will damage enemies in all directions. There's no actual "move" to learn.
- A "Gambling Club" offered a game called "Guess the Number," that old "high/low" guessing game that's perfectly solvable in seven guesses. This variant only gives you six, but that's enough to get it 63% of the time, and the game pays 3-to-1. That's a 1.89 gold piece return for each gold piece spent, and the game lets you bet up to 500 gold. The only thing that keeps this from breaking the economy entirely is that it takes time. The interface for adjusting your guess is particularly annoying.
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| This got old fast. |
- A healing shop. It would be ridiculous to waste money there with free healing on my ship.
- A place called "Reptilian Desires" offered to sell me a "wise serpent" for 102 gems.
- A coal shop, but you need a house in the city to buy from it.
There were numerous NPCs on the streets, most of whom either commented on how oppressive the caliph's rule is becoming or spit on me for being part of the Al-Hazrad family.
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| How does everyone know me? |
Eventually, I wandered up the road to the caliph's palace, a large building with many rooms. In the grand hall, I met Grand Vizier Zummerand, whom I gave a lesson on agentive versus non-agentive language.
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| This would 100% be my response in real life. |
The vizier told me I could see the caliph, but I'd have to wait until a gong sounded. So I explored the palace a bit and was treated rudely by multiple guards and other palace residents.
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| That's an awfully specific policy. |
In one room, I found a floor pattern that could be just decoration, could be the solution to a maze.
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| This is like the wallpaper at a Holiday Inn. |
Eventually, the gong sounded and I went to the caliph's throne room. I demanded my family's release, which got me nowhere ("Your audacity knows no bounds!"), so I asked if I could just visit them. Worried that I might conspiratorially pass or receive information from accused assassins, the caliph summoned the vizier, who cast a spell to detect if I was telling the truth. The caliph then asked if I knew of any information that would point to my family's guilt or innocence, and I honestly said no. (I know it's not going to go this way, but it would be an awesome plot twist if it turned out my family was responsible.) The caliph said I could visit my father but not my mother and sister.
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| Interesting leadership style. |
I still had to bribe the guard with 75 gold pieces to get into the dungeon. It was curiously enormous, patrolled by both human guards and miniature copper automatons, another creature outlined in the "new monster descriptions" section of the game manual. (Are regular copper automatons part of D&D canon?) A guard escorted me to my father's cell, which looks fine graphically but is described in the game text as particularly squalid. I observed that my father was pale and frail, but a Potion of Extra Healing fixed him up (and got me 600 experience points). I really liked that. So often in RPGs, you encounter sick or injured NPCs and the game won't let you do anything despite a battery of spells, potions, and other items that routinely cure every affliction you have and bring you back from death's door.
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| My father is an understanding guy. |
My father asked me to find my mother and sister, find out how they're faring, and report back to him. I pointed out that the caliph had ordered me not to visit them, and he asked if I had sworn an oath to that effect. I said no, so he suggested it wouldn't be a violation of my honor if I ignored the caliph's demands. I agreed with him, but there was a dialogue option to hold firm. I wish I had saved and tried it; I'm curious if that was an illusory role-playing option (e.g., my father would have just demanded that I obey him anyway) or a real one.
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| Hiding from a copper automaton. |
I had to avoid guards and copper automatons as I explored the dungeon, but it wasn't hard (lots of alternate corridors and empty cells to duck into). There were a lot of NPCs in the cells, claiming that they were there for relatively minor offenses against the caliph, such as criticizing the new laws or spitting on the palace wall. Many complained they were ill and dying. It was very evocative. One prisoner who didn't protest his innocence was Shubakan, the forger, who freely admitted that he forged the vizier's seal for "some guy from the caliph's court." Interestingly, while searching the palace, I found a note in a drawer that said, "Do not forget to see Shubakan." I have no way of telling who the room belongs to, though.
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| One of the caliph's pathetic victims. |
I found my sister talking to herself in the back of her dingy cell. She came to her senses long enough to upgrade my sling with a +1 sling shard. My mother was far to the east of the dungeon, in a better cell block. She was in good health and told me not to worry about her. I returned to my father, told him how things were going, and got a Ring of Protection +1. It went right onto my character sheet, not in my inventory.
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| Like so. |
I had hoped my family members would have something to offer about the genie's curse, but my father just said the creature must have found some way to slip his bonds. I had to bribe a guard 100 gold pieces (good thing I had plenty!) to get out of the dungeon, and then I bribed the original guard 400 more to move my father to the dungeon's safest cell. I guess I have no way of verifying that he did so, but I got 1,000 experience points for the effort.
Having nothing else to do in Bandar al-Sa'adat, I left the city, rowed back to my boat, and told the captain to set sail for Shibaz. We were attacked at sea by undead pirates; I had to board their boat to defeat them all. They left a treasure chest with 159 gold and 9 gems. The whole dynamic is silly given that I have infinite healing available on my ship.
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| Bringing the fight to the other ship. |
Shibaz had a small wilderness area with the same type of creatures in the oasis back home. I was therefore able to gauge the differences in combat with my new sling and powers. To use the new swing, I had to hold down the ENTER key instead of just pressing it. It wasn't easy to master when I needed to strike multiple times in a row. On the positive side, the +1 on the Sling of Seeking seems to add a lot more power than you'd expect given that it's only +1 and not, say, x2.
The island had a large complex with indoor and outdoor areas. The outdoor areas had lots of air elementals (regular and miniature), giant boars, debbis (what I've been calling jackals), and those goddamned bees. There was a room in which I got attacked by furniture.
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| Furniture closes in on me. I don't even want to know what's happening in that top left relief. |
I found a new enemy amidst some oil lamps on sticks: greater ghuls, which can go invisible in the middle of battle. They had me furiously paging through the manual to look up a description (I love these moments), and it turns out that you can still target them when they're invisible. That was the key to defeating them.
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| They got me the first time, though. |
I had to bypass a couple of statues, one of which wanted me to recite a pledge to "uphold and protect the wisdom of this place." There was a book that taught me the words, but unfortunately I found it after the statue. The statue gave me the correct oath, but one word at a time, for which I had to pay a gold piece per word. The other statue required me to contribute knowledge to the library, so I had to find a scroll with something valuable on it. I ended up finding three scrolls, but the statue rejected two of them.
 |
| If a substance with a partially reflective surface is positioned so that
its third index of refraction matches the wavelength coefficient . . . |
Beyond the statues was a chest that spoke to me when I opened it. It accused me of trying to steal its treasure, but I protested that I had planned to put treasure in. We negotiated a fee of 13 gems for a shard that it carried; the shard added +1 to my sword.
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| I promise you I no longer think that. |
Around this time, a guy on a magic carpet started flying around the area. I finally caught up with him outside. He refused to take the mirror I had brought from Farid. When I asked him about the name of the Genie Lords' island, he said he'd go look it up in the library, and he took off.
When he didn't come back, I went looking for him. In a room where I'd found some kind of altar (with symbols similar to the floor in the caliph's palace), it was now slid aside, revealing stairs beneath.
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| Either there's a secret staircase in the caliph's palace or this symbology means something else. |
I went down into a large cave maze, where I spent the next hour or so running around and solving puzzles. This game really likes its puzzle mazes. There were spikes to negotiate, levers to pull, flame elementals to kill, urns to smash, runes to step on, and bridges to cross. Some of the rooms had statues that rushed up to me (causing damage) when I got near them. There were a number of chests with gems, gold, and magic shards.
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| Pulling a stone block. |
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| Solving a rune puzzle to pass through an archway. |
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| Attacked by clingy statues. |
The hermit was buzzing around on his carpet the whole time. He kept telling me things other than the answers to my questions, claiming that he was answering the question behind the question. But as I made my way forward, I discovered that the secret to reaching the library myself was to find a magic carpet and fly to its entrance. I finally found one, and I hoped I could take it for the rest of the game, like in Ultima, but it only works between floor runes.
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| He was in the backstory! |
The library was another large maze full of giant rats, giant spiders, earth elementals, and ogrimas (like ogres). There was one battle with a group of thieves trying to loot the place. I reached Level 6 after some random fight. Chests had more gold, gems, shards, and a Ring of Protection +2.
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| An ogrima. |
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| How did you even get here? |
The hallways had about two dozen scrolls, each with a line or two of pithy wisdom, all useless, such as: "Those who need advice the most love it the least" and "Adversity is the straightest path to truth." Some of my favorites:
- "Indolence is the stepson of ambition" and "Admiration is the daughter of ignorance." A few more, and I could construct a family tree.
- "Avoid fighting shirtless young men and you will live long."
- "The mind of the djinn is like a songbird—the words are sweet, but ultimately are about nothing."
- "Allegories are like the waterbags of desert wanderers. No one knows why, but this is so."
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| I'm pretty sure this is a direct Jack Handey quote. |
I found a chest called the "Casket of Worldly Cares," which asked me if I wanted to put the magic mirror in it. I did. The hermit later picked it up and started arguing with his own reflection. When I interrupted him, he said: "Why don't you sail on to Jaza'ir Jiza and leave us alone?" I thus got the name of the island of Genie Lords. Later, I found a scroll with the same information.
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| Either way, that's where I need to go next. |
I got out of there and returned to my ship. I finished off this session with a quick trip to Bandar al-Sa'adat to train to the next level (I now have an attack that damages everyone around me), and then to Sorcerer's Isle to deliver the Gilded Dove to the pahari. In return, she told me that she had spoken to a marid genie who used her Crystal of Vision to determine that Kara is still alive, but "trapped behind a wall of blue energy and grows weaker every day." The marid also wrote words on a parchment that I should speak when I meet my "true enemy": JIZALA MIR'ZABIN. This is the second parchment I'm supposed to read to my nemesis.
Next time, it's on to the island of the Genie Lords. I find the plot fun, the world-building solid, and the atmosphere just on the edge of immersive. I'm still not wild about the mechanics, but I wouldn't mind another 8-10 hours with this one.
Time played: 12 hours
****
07/20/2026
Copper automata are in the Al-Qadim monster book, in tabletop D&D, based on a 1001 Nights story. There's nothing particularly special about them in D&D, so I suppose miniature ones are the same but slightly lower level.
ReplyDeleteWhen I read your hypothesis about the Caliph being part of the conspiracy, I immediately thought: “Man, Chet has a blind-spot on orientalist tropes.”
ReplyDelete“The Vizier did it. It’s always the Vizier, even if you haven’t met him yet.”
Lo and behold, a few scenes later, enters the Vizier. We soon learn that he is a magician and a biy later that someone at court has been obtaining fake seals. Hmmm.
Whether it is in Aladin, Asterix or Barkouf, it’s always the Vizier.
The whole concept of Iznogoud was this trope.
Deletehttps://en.wikipedia.org/wiki/Iznogoud
This comment has been removed by the author.
DeletePrince of Persia, as well, and Quest for Glory II.
DeleteI think this is based on vizier Jafar from the Thief of Baghdad (most of these other evil viziers even share his name), because the Jafar from original 1001 Nights is one of the good guys.
I do indeed have a blind spot on orientalist tropes.
DeleteThere's an absolutely delightful twist in the Bernice Summerfield (A Doctor Who spin-off) story "Oh No It Isn't", where the characters are trapped in an altered reality inspired by English Pantomime tropes. The vizier is transparently coded as evil... But it turns out that he's on the characters' side: he's evil from the point of view of the aliens who are trying to take over the ship
Deletechet: "racial tropes mean nothing to me because i don't see color"
Delete/runs
AFAIR, "Vizier" more or less correspond to "advisor", and could be applied to a bunch of people in the palace, from what is equivalent to minister to what is equivalent to court alchemist. Within this scope, "evil vizier" is not any different from "mage gone rogue" scenario from Excelsior: Phase 1.
DeleteAs far as European literature goes, it was employed by Wilhelm Hauff in Caliph Stork, and I'm pretty certain it was used as a plot device somewhere in 1001 Nights itself, but I am too lazy to check.
Not at all what I meant. I simply don't have a lot of experience with eastern (far or middle-) literature. I remember when I played Ali Baba, I thought in the story that he was the leader of the 40 thieves.
Delete@RandomGamer: you remember incorrectly; a vizier is a high rank and not a "bunch of people". Please see https://en.wikipedia.org/wiki/Vizier
DeleteAnd the difference is that the Court Wizard can run the full scale from evil to aloof to good; whereas the Grand Vizier is pretty much guaranteed to be evil in any modern story.
Predictably, Tvtropes has a lengthy article on it: https://tvtropes.org/pmwiki/pmwiki.php/Main/GrandVizier
@Radiant, I checked the article and it basically confirms what I remember: "Vizier" is a rank, largely similar to "advisor" [to the king], and there is a bunch of those in the palace; "a bunch of" meaning "dozens" rather than a "single individual".
DeleteSecondly, Muslim courts were structured differently due to lack of feudal relationship, so a fairy tale "Vizier", which was used multiple times as a plot point in the original "1001 Nights" (yes, by this point I checked), would indirectly translate to any powerful, but not all-powerful, player in a European court, from treasurer to robber baron.
And, finally, it's not like the other original trope of Arabian Nights - a treacherous sultan's wife who lusts for her invariably well-endowed evil lover, Black or Genie or Ogre, will fly all that well today.
in some orientalist languages the queen in chess game is called vizier
Delete@Pie: Iznogoud was too obvious and felt like cheating as it is the same author as Asterix and the Magic Carpet (much less international success of course .
DeleteAs a fall-back, I chose Barkouf because it is ancient, has been a bit rediscovered in the last decade, but is still extremely obscure. I also hoped to trick a few readers into checking the Wikipedia page and discover how WTF Oftenbach [the inspirator of Gilbert & Sullivan] can be.
I just realized gamer indreams was making a joke about my color blindness. Whoosh. In my defense, I wrote this like two weeks ago. When I get comments on posts that old, it's easy for me to interpret them in isolation rather than in the context of the entire entry.
Delete@Chet & @Armagan
DeleteOrientalism is not art and media made in the Orient; Orientalism is art and media made in the Western world that depicts the Orient, often in a superficial & caricatural way.
Orientalism as a cultural movement started in the 17th century (to simplify), and initially mainly focused on the Ottoman Empire ("Turquerie"), though the Persian world was occasionally a topic. Early Turquerie was reserved to the cultural elite as it was in large part tangible: fashion, decoration, paintings. Orientalism then exploded with the "translations" (heavy airquotes here) of the 1001 Nights in French (1704) and English (1706, derived from the French and called the "Arabian Nights Entertainments" ^^). The 1001 Nights also shifted the focus in place (the Arab World appeared on the Western cultural radar) and time: Turquerie was about either the contemporary Ottoman Empire or about biblical characters who looked suspiciously like Turks; the 1001 Nights introduced a magical & legendary oriental [Arab, but not only] past.
Finally, the 1001 Nights made orientalism something for everyone's consumption, because it was a book made for entertainment. It was instantly popular - fairy tales were big in the late 17th century // early 18th century (think d'Aulnoy or Perrault) but on their long-tail, and the 1001 Nights refreshed the concept by putting it in a whole new locale.
After that, there is a long history of orientalism, from genuine traveller's diaries to pornogr... sorry - I mean documented depictions of 100% authentic slave markets by renowned French artists; over time orientalism, particularly the Arabian Night's type, became increasingly self-referential and less grounded in "past Middle-East-cum-magic" world. We discussed Viziers and they're a good example: in the original 1001 Nights they were indeed advisors (there are 40 of them in one of the stories!) and not particularly evil - this came over time, with a significant contribution from the American interwar pulp magazines which had a feedback loop with Hollywood (eg Achmed Abdullah was a Orientalist pulp-fiction writer and screenwrote the 1924 Thief of Baghdad). Then, the much-mentioned 1940 Thief of Baghdad sealed the deal - Viziers became some sort of Prime Ministers who consistently want to become the Sultan.
See something missing there? The orientals. They never had a say in orientalism!
I absolutely love this part of cultural history, and I could carry on for long (I cut some parts!) - in breadth and influence it really could be a topic for the Analog Antiquarian.
Aladdin in particular has a weird double-orientalism to it, because the original story is set in "China". By which I mean it is set in a land called "China" but which is otherwise indistinguishable from a quasi-historical-fairy-tale Arab nation, with "China" being synecdoche for "A distant and broadly exotic land".
DeleteWell, I guess that was an important lesson, though my original statement stands: I don't have a lot of experience in orientalist tropes wherever they originate. Ross, that's an interesting bit of trivia. There's a parallel in Arthurian literature, where rulers from African and Asian lands are described in Middle English sources in very English terms--they're all called "kings," they have "knights," and so on.
Delete@Ross, Aladdin has a different story: most of Arabian Nights were translated into French from the manuscript, but Aladdin (and Ali Baba, AFAIR) were just told to the translator by his Syrian assistant as "well, this fits there too".
DeleteIt sparked a long academic dispute about how authentic Aladdin was, until relatively recently there was a story discovered with a reasonably similar plot that, I think, traces back to 1200's or so. The genie in that story has a meaningful explanation: it is a fire spirit that needs to be taken care of, and the "rubbing of the lamp" was the new owner cleaning a very neglected lamp so that it looked nice, which secured genie's good graces.
Also, the China of Aladdin had scheming jews.
@The Wargaming Scribe, based on your description it reads like Ottoman Empire was something very remote and foreign so that European elites would treat it as "exotic", and not something just across a very navigable Mediterranean Sea that just laid siege to Vienna 17 years prior to 1001 nights publication in French.
DeleteMaybe it is so if you take London as the center of the world, but to France, Spain and various Italian states there was nothing remote about either Ottoman Empire or Arabian world in general, and its exoticism was largely due to nigh impenetrable language barrier, not being helped by the fact that Turkish and Arab are in different language families, and that Arabian script doesn't work for Turkish at all.
Even more interestingly, at the time of translation into French (I take 1700 because it is a nice and round date) the world of "Arabian Nights" itself was largely an Arthurian legend, with Arabian world largely having been conquered by the Ottomans, who were quite NOT Arabic, even if cultural assimilation happened to a degree, and once lucrative position of a middleman between East and Southeast Asia being taken over by direct European trade.
As far as "Arabian" porn goes - I have read Jami back in my day, and his poems are outright pornographic compared to, ahem, pretty much anything I know from that age (well, I don't know *everything*). One of his poems was a detailed account of seduction of Joseph by pharaoh's wife; another was a romance between an artificially inseminated baby and his surrogate mother (YES, it is an actual plot). The idea that porn-heavy Arabian Nights were somehow an outlier or somehow twisted in the West doesn't pass the smell test to me.
"...not being helped by the fact that Turkish and Arab are in different language families, and that Arabian script doesn't work for Turkish at all"
DeleteIt worked well enough to be used for for almost 600 years, though.
@RandomGamer
DeleteI honestly don't understand what you are trying to say about the well-documented history of Turquerie. Of course, many countries had been in contact with the Muslim world for centuries, but in the Renaissance era many of these were at war or armed peace with the Ottomans & North Africans (Austria, Spain, Sicily - all of them Habsburg and very catholic) so they were unlikely to develop a cultural fascination for their enemy. The big exception among the Mediterranean powers beyond France was Venice which had been in an on & off war and alliance relationship with the Ottomans, and indeed Venetian Turquerie predated by more than a century the rest of European Turquerie - but it remained an isolated bleep on the radar. The Dutch were also early on the ship (Rembrandt, famously, painted people in Turkish attires) but it is French Turquerie that really radiated into the rest of Western Europe and turned Turquerie into a major phenomenon. To speak further of the situation of France that I know well, Turquerie had to wait for the conditions to be right: significant and continuous diplomatic contacts (starting with the infamous French-Ottoman alliance of 1536, the Dutch had their own embassy in the early 17th century), internal stability (France is plagued by Catholic vs Protestant religion wars until the last years of the 16th century) and an aristocracy more interested in leisure than warfare (which really wasn't the case until Louis the 14th stabilized his control). All those conditions are finally met when the Ottoman Ambassador visits the French Court in 1669, and that's the event that really triggers the craze in France that will quickly spread into the rest of Western Europe. That's why in my earlier message I said "started in the 17th century (to simplify)" - yes Europe has known about the Ottomans for as long as the Ottomans existed, yes there is the dense but somewhat isolated Venetian Turquerie long before everyone else and some trace of French and possibly Dutch Turquerie in the late 16th century, but really the fascination with everything Turkish started in the second half of the 17th century.
As for porn, I really don't understand why you mention Jami (who was Persian I surmise you use "Arabian" as in "Arabian Nights" i.e. anything between North Africa and China). I haven't read him (nor any Persian poetry, alas) but to my knowledge his works were not part of the 1001 Nights and the discussion is about the Western world anyway. The artist I was joking about, however, was Jean-Léon Gérôme and his many, many, many paintings about harem, slave markets that seem to specialize in women, bath that women attend, and of course allegorical characters that happen to be naked women. Of course, he also has a lot of historical painti... wait - why is Cleopatra bare-chested? Obviously, naked ladies are nothing new in Western art, but it used to be about mythological characters in relatively tame postures whereas Gérôme - well - go check his Wikipedia page, but not at work.
Anyway, that's probably my last message on the topic - I could go on for hours and I think I might be getting boring, if I wasn't in my first message already.
@Scribe, I am saying that Europeans had a pretty decent idea of how real Ottoman Empire looked like (just like Hollywood always had a pretty decent idea of what Mexico looked like), and that the fantasy world of 1001 Nights was, ahem, largely removed from the real Middle East because the tales were set in the times already quite legendary when it was actually translated, so when Europeans tried to write something "in the spirit of" 1001 Nights, they would have to settle for something they knew was unreal to begin with.
DeleteSimilarly, a lot of European productions set in "far away places" were not as much an attempt to represent those places, but rather a way to circumvent the censorship, as the satire contained within them often hit close to home: Europe as a whole was heavily censored through most of the 19th and a good half of 20th centuries, even though the regimes were obviously very different for each time and place.
I was surprised to learn from Olga Tojarczuk's amazing novel The Books of Jacob that the Crimean peninsula was part of the Ottoman empire for hundreds of years. The itinerant Jewish mystics in the novel move freely between what's now Poland, Ukraine, and the Ottoman empire. The line between what we think of as Western Europe, Eastern Europe, and the Middle East was porous and changeable; Said's whole point in Orientalism is that framing of the East as an other was more important to our sense of it as a fundamentally different culture than any geographical boundary.
Delete@Thecla, Crimea had a bunch of cultures that were a stayover from pre-Tatar times; it is really unappreciated.
DeleteUnfortunately, it would be a miracle if anything is left standing after this war and very long Russian efforts to essentially Russify the peninsula. Did you know that now destroyed Mariupil started as a ghetto of sorts where Katherine II forcibly resettled a big bunch of such minorities?
"Furniture closes in on me. I don't even want to know what's happening in that top left relief."
ReplyDeleteThat top relief depicts a lioness devouring a man, and it is based on a Phoenician ivory plaque.
https://en.wikipedia.org/wiki/Nimrud_ivories
Ah. Thank you for the source. I didn't know that one despite having been to the British Museum.
Delete"I don't even want to know what's happening in that top left relief."
ReplyDeleteLioness eating a human, nothing lewd to see here ;)
To be fair, I wouldn't be all that surprised to find the reliefs from the temples at Khajuraho showing up in a game at some point.
Delete"I praised this animation in my last entry, then forgot to actually include it."
ReplyDelete... but now you've only posted a still!
You're not alone with having difficulty with the menu text: the 'Load Game' text is a tan sandy colour, and the 'Save Game' text is a pinkish rose red, but they are very similar.
Though, thankfully, not as bad as the disc menus for the X-Files Blu-Ray release I recently acquired, which uses dark gray text which is "highlighted" in black when selected---something almost impossible for *anyone* to discern at a standard viewing distance. It frankly baffles me that the menu design was approved at all---even with my glasses on, I have to squint (and even then still have a 30% failure rate at deducing which menu item is currently selected).
DeleteIn my experience, every programmer thinks they know how UX design works; and almost every programmer is wrong about that.
DeleteI'm kinda liking the statues dispensing wisdom and koans and so forth. It seems to be guiding you to a path
ReplyDeleteIt's almost a shame the previous sorceror and mistress weren't later, because that would have felt like subverting the formula
Yes, but they're more like Ice Cream Koans.
Deletehttps://tvtropes.org/pmwiki/pmwiki.php/Main/IceCreamKoan
"Avoid fighting shirtless young men and you will live long."
ReplyDeleteThat was a great piece of advice for those thieves. Too bad they haven't listened to it.
Between the "riddles" in the tower that were really just airing out a marital spat, the hermit in this entry, and some of the one-liners, this game seems to have a good level of humour without getting too goofy.
ReplyDeleteGood observation. I agree.
Delete"At least this city's fountain isn't dried up." There is a remarkable continuity in their design however, they must have both been modeled after some mutual real-world precedent.
ReplyDeletehttps://en.wikipedia.org/wiki/Rub_el_Hizb
DeleteYeah this game gets by mostly on charm - I really enjoyed it when it came out. I also dig the graphical style that it shares with Dark Sun. It's really a shame that this era of D&D games wasn't more successful because it had a few real gems.
ReplyDeleteThe art here is a lot better than Dark Sun; I don't know if it is bigger figures, or just better art direction, but the difference is quite clear.
Delete"As I slept, I had a dream; in that dream I had a dog..." I seriously expected this to end in, "How many were going to St. Ives?"
ReplyDeleteAs a side note, it feels like this game would be better on the Super Famicom. This style of gameplay does not seem to suit keyboard controls very well.
Indeed! It's particularly baffling when you consider that earlier D&D games from SSI received console ports (e.g. Hillsfar, Heroes of the Lance, and the seemingly ill-suited Pool of Radiance). Even other computer RPGs such as Drakhen, which were seemingly less suited to the SNES still received ports. Sadly, the acquisition of SSI by Mindscape later in 1994 probably put the kibosh on any future console adaptations.
DeleteLooking up more information, it seems that Dark Sun: Shattered Lands was in the process of being ported to the Super Famicom, Sega Saturn, and Sony Playstation, but all ports were quietly canceled by 1996. So Al-Qadim, being a later release, was probably doomed from the start on that front due to licenses changing hands.
DeleteI've never played this game, but based on the videos, the controls and animations seem much less refined than what was available on the SNES or Genesis at the time. Those platforms had tons of shovelware that controlled terribly, of course, but my general opinion is that PC gamers and developers at the time didn't appreciate the expertise and attention to detail it took to make action games work properly. I have a similar opinion about Ultima VIII - jumping is the best verb in video games, and the problem with that game isn't the idea of jumping but the execution of it.
DeleteNow I wonder why "The Genie's Curse" in the title screen not only uses unique font, but it also uses a font that seemingly had been lifted from Aladdin (Disney's platformer). It is very much out of sync stylistically with everything else.
ReplyDeleteI went as far as to wonder whether this game was pitched to someone else first as an arcade and later repurposed for SSI, but it seems like all the studio's major people cut their teeth within SSI itself.
I had the same thought. It does feel like a game maybe developed under the influence of Aladdin but not as a D&D title, with the D&D label later slapped on. But I think it's too much of a coincidence given both SSI and D&D history.
DeleteThe DOS era had a couple of common fonts that are used by many games; perhaps this is one of them.
DeleteRoughly what fraction of experience gains come from fighting enemies, and what fraction from seemingly-random actions like giving a coin to a beggar?
ReplyDeleteAbout 60/40, maybe even 70/30, in favor of quests and special encounters like that. I doubt there's much variance among players in the character's level at each stage. It honestly barely qualifies as an RPG under my definitions.
DeleteIT does not barely qualify as an RPG. YOU barely qualified it.
DeleteI wonder if anaglyph glasses could help discern colors in the menu. Often, colors that look close to bare eyes look different n anaglyphs...
ReplyDeleteThe pattern on the floor is a QR code for the food and drink menu, obviously.
ReplyDeleteI imagine the larger patterns go on a a bit longer because I'm not seeing the same 3x3 block near the hidden staircase. Looking forward to see if this comes into play later (I'm awfully late to this post).
Sling stones in AD&D2e did 1d4 damage and IIRC strength damage bonuses applied to thrown items but not fired missile weapons (except bows when they were crafted for high strength). It makes sense that going from 1d4 to 1d4+1 seems significant, but in the case of the sword it should be less so; I don't know if the game told you what type of sword you have let's say it does 1d8 which covers your standard longsword, one handed bastard, scimitar, etc. you're already getting a +3 damage bonus from strength so 1d8+3 to 1d8+4 shouldn't make as much of a difference. But I think you're onto something that the stats might just be for show. It's been a long time since I've played 2e and my books are long gone so any corrections are appreciated.
Shoutout to Ross up there with the use of synecdoche, and I appreciate all of the thoughts on orientalism. What a great crew of regular readers.
Final Fantasy III allows you to cure certain NPCs with your items. Its a pretty neat mechanic, but as mentioned here, quite rare.
ReplyDelete